Fireplace Floor Tiles Victorian -Fireplaces were an essential feature of Arts and Crafts design. In the era from which the Movement drew its inspiration the hearth only agreed to be beginning to be sited for the sidewalls of great halls inside the houses of the extremely rich. So the design and style adopted by Arts and Crafts was a nineteenth century day pastiche of the items was constructed during the Wars in the Roses Fireplace Floor Tiles Victorian. Designs were often in brick although stone could be used where it was a local material.
The fireplaces were large, often rounded and had an inglenook feel. Bricks would vary in proportions, with courses laid vertically and also conventionally or it could be inside a herringbone pattern. Later designs often included tiles and also the form of sinuous designs which can be linked to Charles Rennie Macintosh and Art Nouveau Fireplace Floor Tiles Victorian. Tiles probably have a pastoral scene or even a complex flower motif and also the Rockwood Pottery that produced early designs was closely linked to Morris & Co, the corporation that William Morris ran from 1875. We still deal with the Arts & Crafts legacy in mock Tudor houses, 20th century wall panelling and old brick fireplaces. Like practically all styles in the last 200 years the recognition declines just to reappear around 100 years later.
Charles Rennie Mackintosh is considered one in the greatest influences on architecture this century. His too short career spanned the turn in the century and produced a number of innovative buildings and interiors around his birthplace of Glasgow. Some see Mackintosh being a modernist, others because the link between Art Nouveau and Art Deco. He was probably neither, drawing his inspiration the maximum amount of from classical shapes because the new industrial art which was beginning to prevail throughout Europe.
Mackintosh wasn't just an architect. His design brilliance extended for the interiors in the buildings he designed. Together with his wife Margaret, Mackintosh believed that the interior layout was as important because the exterior form and designed individual what to compliment the entire look in the building. Fireplaces were, in his opinion, the 'glowing focus with decorative and symbolic interest'. It was important for him that every design should meld to the room and be personalised for your needs in the owner Fireplace Floor Tiles Victorian. His most popular brief was Hill House in Dumbarton, which he designed for your publisher, Blackie. In this house each fireplace is unique. The family room design has niches for ornaments, while the hearth inside the library links areas in the room to create a whole. Each has been considered and tailored to ensure that is part in the room, not simply a fitting.
Today's fireplaces inside the Mackintosh style tend to reflect his graphic style rather than his design flair. Art Nouveau roses interpreted by Mackintosh are typical features and evoke turn in the century style. His designs for mantelpieces and finished fireplaces are so personal for 'off the shelf' production and may remain unique inside the houses where these folks were installed.
Whilst the category of Charles Rennie Macintosh first comes to mind when early 1900s architecture is mentioned, it is probably Edwin Lutyens who has left the highest impression on country houses and official buildings inside the UK and beyond Fireplace Floor Tiles Victorian. Macintosh, from his base in Glasgow rose as being a shooting star around the turn in the twentieth century just to disappear as quickly only for ten to fifteen years of architectural design. Lutyens, often in addition to garden designer Gertrude Jykell, produced houses inside a wonderful late Victorian / Edwardian vernacular style that still impresses today.
An examination of most of Lutyens Country House designs highlights the value he, and even more importantly his clients, placed for the design of fireplaces. Many of his major, well-known designs - Castle Drogo, Great Dixter, Little Thakeham while others - feature well over 10 fireplaces - many specially engineered to enhance the ambience in the room.
Barton St. Mary near East Grinstead is often a great example. Designed inside a rendered, South of England style, Barton St. Mary resembles two cottages joined together. Internally, massive stone inglenooks, wealth of oak beams and vaulted ceilings evoke a time much prior to when its actual turn-of-the-twentieth century construction. In the dining area a big fireplace with projecting shelf and converging firesides in herringbone brickwork features a beautiful simplicity that's almost ageless.
Fireplace Floor Tiles Victorian
Built for local industrialist, Arthur Hemmingway, Heathcote near Ilkley is altogether a different proposition from Barton St. Mary. Finished in local stone, it's an imposingly grand house with echoes of an stately home. Internally neo-classical design reigns with pillars and ornate coving. In the Dining Room we percieve a fairly easy bolection design which has a massive Adamesque fireplace design superimposed over it. This is often a strange combination, possibly specified by Mr. Hemingway himself. Bolection designs, using unpretentious moulded shape were extremely popular, some within larger Adam-style designs, others forming the entire fireplace were common in other Lutyens houses - Great Maytham in Kent, Nashdom in Taplow, Berkshire and Temple Dinsley in Hertfordshire. Lutyens was often involved in modernisation of older houses where again the simplicity in the bolection design helped blend new with old. Even today, bolection fireplaces are extremely much admired.
Lutyens designs were undoubtedly extremely influential inside select moneyed class who employed him. However, it absolutely was Minsterstone in addition to a several other local manufacturers of stone, marble and brick designs who adapted his designs for your smaller fireplaces to cater for your emerging middle class. Many of the hearth manufacturers because of this era have disappeared leaving Minsterstone, featuring its 120-year history being a lone survivor coming from a time if the gap between rich and poor was much larger compared to today.
The dawning in the 20th century also saw a number of different stylistic influences on the hearth inside a way that no other century had experienced. The heavy, gothic style that so typified the middle in the Victorian era had been stated in vast numbers. But present and favored by the cognoscenti was the powerful Art Nouveau look, which have taken the country by storm, following a Paris Exhibition of 1881.
The roots of Art Nouveau lay inside the great European capitals of Vienna and Paris in which the artistic elite rebelled up against the constraints in the previous generation. The movement took fully briefed the cast iron fireplaces, for way too long the trade mark in the suburban continuing development of our large cities, and added sinuous ornamentation, which gave these utilitarian items a modern look. Tiles on tile sliders started to appear inside a wealth of designs inspired by rural images and also classic Art Nouveau references such because the grapevine.
William Morris' Arts & Crafts movement continued to exert an influence well in for the 20th century. The inglenook have been a well known revival feature of Arts and Crafts' fireplaces because it created seating around the fire - usually the only warm part in the house. In fact Morris' followers liked many popular features of medieval and Tudor fireplaces that they adapted and integrated into their designs - some adding features like overmantels which could do not have been part in the original.
The 1920s sought out a different approach that combined industry with art. After the First World war, revival was still being the name in the game for your middle classes who wanted their suburban houses gentrified with mock Tudor beams and fireplaces. However, the rich and also the artistic longed for designs that reflected the twin ethos at work and leisure.
Art Deco filled this void and was given birth to in the 1925 Paris based exhibition titled 'L'Exposition Internationale des Arts Deco et Industriels Modernes'. At the time, the design and style was called Paris 25. The concepts behind the Art Deco included:
The sacrifice of decorative detail to function.
The rejection of history in favour of modern ideas
The adaptation and adoption of industry - its designs and methods. Art Deco design was quickly translated right into a wealth of designs, which used traditional fireplace materials, but inside a more spectacular, avant-garde way. Simple understated lines were embark through reflective chrome, lacquered wood or tiles to provide a modern feeling, which shouted 'Modern!' without having to be too ornate.
Like many in the other trends, Art Deco somewhat the preserve in the wealthy. The newly enriched suburban middle classes were more likely to have a fairly easy tiled fireplace, normally in green beige or buff. Designs could reflect the Art Deco influence in the Mexican stepped pyramid or could be asymmetric, influenced by the social realism movement. Many 1930s tiled fireplaces also featured a wooden surround or mantelshelf in English oak.
In the shires the fire surround was more likely to take an area material, - brick inside the South of England, stone inside the North and tiles around Stoke on Trent. Designs of these areas just weren't so influenced by decorative trends. Functional features like bread ovens and hooks for hanging cooking pots lingered on entirely or partial use inside country cottage well to the 1930s and 40s.
World War II witnessed an entire halt inside the house building programme as resources were funnelled into replacing and repairing bombed houses and inside the late 1940s the push to re-house families saw a escape from conventional fireplaces in favour in the 'easy to install' electric fire. However because the UK became more prosperous during the 1950s local authorities and personal house builders started to install tiled fireplaces again creating a regular demand for your slabbed designs produced by members in the National Fireplace Manufacturer's Association, which have been formed in 1945Fireplace Floor Tiles Victorian. These fireplaces were made right down to specification rather than including any design flair and, from the middle in the decade, the wooden mantel shelf had disappeared.